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Better known for its classics, the Stratford Festival has long presented fine-tuned versions of Broadway musicals. This year: “Billy Elliot” and “Little Shop of Horrors.”
A follow-up to the startling and divisive “Nanette” is just as startling and probably just as divisive.
An Encores! Off-Center revival reveals the tantalizing cleverness and intractable faults of the 1997 (and 1999, 2003, 2004 and 2008) musical.
Annie Golden stars in a musical B-movie pastiche that lands in the gap between tribute and spoof.
This season’s wide-ranging offerings, including Shakespeare and “Little Shop of Horrors,” reveal the surprising root of our longest-lasting stories.
Halley Feiffer’s “Moscow Moscow Moscow Moscow Moscow Moscow” turns the master’s refined Russians into “Mean Girls.”
How did a lush throwback like “People Will Say We’re in Love” become the lean, sexy, countrified number being sung today? Follow along as we break it down.
A new work — and revivals of a classic play and musical — are having a conversation about different kinds of incarceration.
In a memory play with songs, the monologuist David Cale recreates the chaos of his youth in a rough town and a violent home.
The world premiere “kung fu musical” at the Shed isn’t much of either.
April Matthis’s sensational performance anchors Lydia R. Diamond’s play about the first woman of any race to appear in a professional baseball game.
Despite its top creative team, an adaptation of the popular Sue Monk Kidd novel feels like a first draft.
A delicious production of the great Shakespearean comedy starring Danielle Brooks and set squarely in our #MeToo and Black Lives Matter moment.
Swinging lights. Broadway beefs. Words of wisdom. And a restroom serenade. If only some of the highlights were on TV.
For decades, our photographers have gotten intimate access backstage. Peek in as they capture stars, before the show and before the mirror.
Based on real events, the Steppenwolf Theater Company’s new play tells the story of a Chicago drag queen who throws her fabulous hat into the ring.
Working opposite ends of the volume spectrum, two musicals, the new “Six” and a reinterpreted “Next to Normal,” find their levels.
Audra McDonald and Michael Shannon star in a touching revival of Terrence McNally’s play about first and last chances.
There’s plenty to enjoy in this adaptation of a 1984 movie set at a Long Island beach club. But plenty to fix, as well.
A new adaptation of “The Oresteia” reminds us that a 2,400-year-old work can still feel appallingly familiar.
Now in its third year, this Broadway hit has grown up by aging down.
Can a foolish mainstream movie dramatize ecological crisis? Can a smart play?
At the center of Chisa Hutchinson’s one-woman play, written for Audible, is a love triangle with just one side in view.
Adventurous directors and galvanizing performances made for unexpected — and very welcome — departures on what once felt like the Staid White Way.
The chief theater critics for The Times choose who they think should win and who should have been nominated.
Merciless comedy shades to delicate tragedy in a terrific playwriting debut from the poet and performer Aziza Barnes.
Women on the front lines of danger in 1963 were often pushed to the backbench of the civil rights movement. A new play gives them their due.
A flamboyant artiste who danced nearly naked into his 80s gives one last performance in a new play from the Civilians.
New York Times theater critics on a Tonys roster that highlighted originality, if not diversity, and made room for some welcome surprises.
These plays deliver a jolt.